TimeRime.com - France in the 19th Century Linea de tiempo "The blend of Bonapartism and Orleanism, this faith in administration, is Haussmann's family heritage..." (Jordan) Haussmann's father was Orleanist who supported centralization of government. He was opposed to local elites or "notables" making decisions without some central "buraucratic" restraint (Jordan). French artist Gustave Caillebotte expresses the isolation of the individual in the midst of Haussmann's changes in Young Man at His Window: Even if the window is a means by which the young man can escape the boredom of domestic life, the view outside became increasingly less personable once Haussmann decided to tear up the capital’s crooked streets. The rationality of Haussmann’s boulevards imposed a new logic onto the inhabitants of Paris. By centralizing the imperial state, the modern industrial city shaped the way people, such as Caillebotte’s young man, experienced the urban landscape. With the coming of modernity, there is a sense of melancholy at losing what was once familiar.

Faced with the growth of the city, the man contemplates his position from the security of his private domain and surveys the changes of the public arena through his apartment window. While opening out onto the expansive world beyond, the window also displays a contracted view of the city. The angle from which the viewer observes the man causes the space to appear crowded and illegible. The position of the man and the viewer outside the painting do not line up and thus, we experience a distorted view of the scene. Caillebotte’s deliberate choice to manipulate with the painting’s perspective signifies his response to Haussmann’s reconfiguration of the city during the mid 1870s. Acting as an invitation for the viewer to enter the painted reality of Haussmann’s Paris, the window ironically does not rescind the indecipherability of the urban environment. Gould, 1995, 80. The view outside the young man’s window could be characterized as one of Haussmann’s revitalized neighborhoods. Sweeping the streets and building new homes, Haussmann conceived of his city as one large human vessel with lungs, bowels and arteries.

Slums and other working class residential areas were pushed to the periphery of the city and replaced by bourgeois living quarters. In Young Man broad, expansive streets flanked by tall, rectangular apartment buildings represent the essence of Haussmann’s prerogatives. Our view from the balcony causes us to envision the landscape below as a series of enclaves dominated by foot traffic and punctuated by wide, tree-lined roads with monumental vistas instead of a confusing citywide web of intersecting streets. In the painting, horse drawn carriages move alongside the tree bordered sidewalk while strollers pass freely between the street and the walkways below. A female figure stands at the curved corner of the footpath possibly waiting for someone or watching some kind of event that is obstructed from our view by the balcony to the left. The sensuous fabric of her pink dress calls attention to her bourgeois status. Acting as components of a larger urban machine, the figures in the neighborhood become a part the city’s motion.

Although Caillebotte appears to conceive the new Haussmanised French neighborhood with the mathematical precision of its creator, a careful look at the painting’s composition reveals that the artist has manipulated traditional perspective to produce an unusual yet convincing view of the changes affecting the aesthetic and practical use of the city. David P. Jordan, “Organs of the Large City,” in Transforming Paris: The Life and Labors of Baron Haussmann (Chicago: The University of Chicago Press, 1995) 295. Roger V. Gould, “Urban Transformations, 1852-70” in Insurgent Identities: Class, Community, and Protest in Paris From 1848 to the Commune (Chicago:The University of Chicago Press, 1995) 95. After Paris's debt due to Haussmann's renovations reached a whopping 2.5 billion francs and the imperial regime became threatened by rising republican opposition, Napoleon III dismissed Haussmann in January of 1870 with the mission of establishing a genuine parliamentary goverment (Gould, 77). Haussmann was not really creating anything new with urban planning.

The prefects before him (Rambuteau and Tourny) had previously created plans to reorganize the city and Haussman build off upon what they had already started. The wall built around Paris in 1840 established the limits of the city and Haussmann was able to create a ordered plan of the city within those confines. Before Haussmann, there were intimations to instill harmonious urban planning but during the July Monarchy the motives were primarily for defending the city during times of war. When Haussmann took over, political, social, and geographical issues all came into play. The cholera epidemic, military and social control, and the railroads were all important factors that came together at the start of Haussmann's time and motivated and made possible his uniform reorganization strategies. Moving Eastward: Housing for the Poor Following the Commune, the 'social question' still remained. How were the poorer classes supposed to mix with the bourgeoisie? Or, could the blurring of class distinctions ever be accomplished? As the population in Paris continued to increase with the infiltration of immigrants seeking competitive work, the need to create a new kind of living situation for the working class became imminent.

A strong relationship existed between class and place: "Housing problems, in effect, challenged reformers to reevaluate the use of physical space to monitor or mediate interactions among potentially hostile social classes" (Shapiro, 490). Paramount to establishing order within society and reducing "fears of disorder and disease" was to establish private living situations where workers had full control of their homes. In this way, the social question could be remedied, i.e. the working class would disappear into the bourgeoisie (Shapiro, 491). The cite ouvriere movement thus became France's best defense against socialism. However, these housing reforms never really took shape. Maintaining a safe and healthy living quarters proved expensive and not worth the Municipal Council's time. The debt Haussmann had accrued combined with more loans to build new homes was burdensome. More importantly, the desire to bring different social classes together was inevitably a lost cause. Socialization in Second Empire France: Women, Separate Spheres, and the Commune Beginning around 1850, Paris experienced many crucial changes in its political, social, and economic spheres.

With the rise in population, migration from the countryside, and the creation of the railways, Paris was becoming a modern city. Concurrent to the geographical and mechanistic development of the city were important social changes the affected the lives of men and women. Originally, men and women were meant to inhabit 'separate spheres,' ideally men in the public workforce and women in domestic affairs. Once the proliferation of factory jobs made headway, women became part of public life, transcending the nature of the separate spheres. Even when the separate spheres were still in tact, women found solace within their own social groups which were often connected with the church. During times of disorder, the church became a symbol of order and moralization. In addition, the building of prisons also instilled order within a tumultuous country wrecked by the pressures of social reform and foreign conflict. Once again, what appears as major historical landmarks in the history of France are only repeats of those that have happened before: "The significance of the Commune in the history of revolutionary socialism has also led historians to contest Marx's contemporary assertion that this was an unprecedented revolution for a new socialist society in the hands of the working class and its allies.

Instead, many historians have seen it as the last episode of the French Revolution, highlighting the constant appeals back to the revolutionary tradition, the failure of the Commune to socialize property - or even to close the Stock Exchange - and the mixed, pre-industrial nature of the Parisian workforce" (Mcphee, 214). However, the idea that France was merely playing out a history that had already happened before was contested by Gustave Courbet who believed that "the terms Public Safety, Girondins and Jacobins can not be applied to the republican social movement" because "what we represent is the period that has passed from '93 and '71, with our own genius corresponding to our particular character" (Mcphee, 215). End of the Social Question?

After 1880, the Republic embraced a largely conservative government, much like that during the 1830 Revolution: "As Thiers put it famously in 1872, the Republic is the regime 'which divides us least' but 'the Republic will be conservative or nothing.' On the other hand, from a left-wing perspective...the discourse of democratic republicanism, egalitarianism, anticlericalism and attacks on the 'financial aristocracy' was primarily a smokescreen to protect the social order from revolution. By appealing to a constituency of small property-owners...bourgeois politicians were able to legitimize existing class and property relations; by panting the industrial bourgeoisie and colonial expansion as patriotic, they were able to generate a unitary ideology of capitalist growth and secular advancement" (Mcphee, 217). In the Third Republic where the possibility of alleviating conflict amongst social class still existed, reform became more of an ideal vision of the future rather than something that was desirable at the moment.

Boulevards as a Marker of Social Class "The Grand Boulevards, planted with double rows of trees and laid out between 1685 and 1705...had become popular promenades by the eighteenth century and were early urbanized with hotels, theaters, and cafes for fashionable society...There seemed to exist a kind of invisible moral barrier which forbade access...to common folk, to ordinary people, to the insignificant, who might pass by but who did not stop, all being aware that they did not belong here" (Jordan, 206). The Opera "Louis Napoleon did not spend this fortune on an imperial palace for himself but on an opera house, which, along with railroad stations, were the urban extravagances of the nineteenth century, the defining structures...Paris itself was to be his monument. The Opera was a palace for art and those who could afford it, a celebration of civilization, as a railroad station celebrated industry, science, capital, and progress. Napoleon III might reign because of peasant votes, but he declared his triumph, his modernism, is culture, the humanity of his reign, with an opera house" (Jordan, 208-9).

Under Haussmann, "Paris was increasingly a series of quantifiable abstractions: the poetry of a budget, lines on a map, survey plate, tons of building materials, meters of sewer pipe, acres of garden..." (Jordan, 260). Haussmann "had little tactile contact with the city...[Paris] was not a living organism with habits: [it] had, for Haussmann, needs but not desires, limbs and arteries, a digestive system, but no heart. Its mind was his all-knowing intelligence. From the corner office in the Hotel de Ville [Haussmann] spun a vast and intricate web in which the great city was enmeshed" (Jordan, 260). The Fall of the Individual "Haussmann conceived of the city as a public, not a private place. He thought in terms of zones of social activity, demarcated from yet accessible to each other by new streets that formed systems of communication. In his urban scheme the individual house had no place. Nor did the individual. Abstract collectivities were paramount: the city, the state, the empire, the capital. The city was for him a vast infrastructure rather than a human habitation and expression.

Before these administrative priorities, individuals and their rights disappeared, absorbed into collective units" (Jordan, 265). Galeria de fotos Haussmann & the Revival of Paris | Museum of the City Baron Haussmann and the modernization of Paris Exhibit by: Estevan Alvarado Georges-Eugène Haussmann Emperor Louis Napoleon III on the left presenting a letter to Haussmann on the right. Haussmann lived from lived 27 March 1809 – 11 January 1891. The son of a well off merchant family, Haussmann attended a university to study law and music. After his graduation he was able to rapidly advance through the civil service which now promoted based on ability and was no longer reserved for the nobility as it was before the French revolution. Haussmann’s big break was when he came to the attention of emperor Louis Napoleon III in 1853. At this time Napoleon III was looking for for someone to undertake his grand vision to rebuild Paris as a modern capital that was worthy of France.

Napoleon found an eager ally in Haussmann and appointed him the prefect of Seine (Of which Paris is a part) in 1853. The two made an efficient team and worked in close collaboration on the project. Haussmann was unswervingly loyal to Napoleon, and Napoleon protected Haussmann from his adversaries. While Haussmann proved to be very enthusiastic and a capable administrator, it is important to note that he never actually had any experience as an architect or an urban planner, which would result in some of his plans not working out quite as intended. It is also interesting to point out that while he was commonly referred to as Baron Haussmann he was never officially a Baron – it was more of an assumed nickname. Reasons for Modernization An example of the architecture in pre-Haussmann Paris, typified by narrow crooked streets. From 1800 to 1850 the population of Paris doubled to become over one million. This rapid growth put great strain on Paris’s infrastructure and resulted in a massive overcrowding problem. In 1850 the majority of Paris was still the medieval style of unplanned narrow winding streets as seen in the picture to the right.

These streets featured open gutters for carrying sewage that were breeding grounds for disease. These unplanned streets were narrow, often had confusing layouts and were not efficient for commerce and traffic. There were also political reasons for the renovation. From 1790 to 1850 France had transitioned between Royal dynasties, Republics, and Empires six different times! At this point revolutions seemed to be the fate of every French Government a fate that Emperor Napoleon III was keen to avoid. Paris was the focal point of revolutionary movements and by this point Parisian barricades had become synonymous with revolution. Napoleon III realized that the narrow streets of Paris were easy to barricade and the winding disorganized layout made it difficult for troops to quell rebellions quickly. Therefore it was hoped that by with the new layout providing quick access for troops and broad streets discouraging barricades, future revolutions could be avoided. Napoleon had a great interest in modern technology, architecture and city planing. He became inspired to remake Paris into a modern city after seeing London which had been rebuilt in a massive project after the great fire in 1666. Napoleon was determined to remake Paris into a great modern capital worthy of the empire.

The plan Haussmann embarked on on a radical project of urban design to rebuild Paris as a modern city. The project included… A greatly expanded sewer system. The construction of wide boulevards. Gas lighting for the streets. The formulation of public building regulations. Theconstruction of monuments. An updated and uniform facade for the city’s buildings. A reorganized and symmetrical road system. The construction of new parks. The division of Paris into arrondissements (Districts) and the expansion of the city’s limits. The extent of the construction can be seen in these pictures of the Avenue de L’opera both during the construction and in modern times A picture taken during the construction of the Avenue de L’opera. The above photo taken during the construction of the Avenue de L’opera is an example of the demolition that accompanied the widening of the boulevards. The buildings in the foreground will all be removed to make room for a wide boulevard leading to the Opera seen in the background. The photo bellow shows the modern Avenue de L’opera from the same perspective. Note the buildings on the side are typical of the neoclassical style employed during the project.

The modern Avenue de L’opera While both Napoleon III and Haussmann wanted to modernize Paris at the same time they were adherents of a more classical style of architecture. This led to the projects buildings being constructed in a neoclassical style. The neoclassical style was a unifying theme used in everything from the facades of apartment buildings to the construction of major Parisian landmarks. One such landmark constructed during this time was the Palais Garnier opera seen below. There is a story that Napoleon III, the Empress, and Haussmann were inspecting the building when the skeptical Empress asked the architect: “But Monsier, what style is it?” To which he replied “Why Madame the style is Napoleon III!”. The building does indeed typify the very opulent neoclassical style so loved by Napoleon III which can be observed in the picture of the Opera’s interior bellow. Interior of Palais Garnier Roads An example of the symmetrical layout employed by Haussmann. The main boulevards are connected by smaller diagonal streets. One of the most important aspects of the plan was the renovation of Paris’s main roads. Haussmann brought symmetry to the city.

The new roads were laid out in a grid running east to west, north to south with diagonal connections radiating out. Perhaps most importantly the wide avenues would be hard to barricade and allow fast access for troops while also improving commerce. The construction of new roads and the widening of streets would require the expropriation and demolition of many buildings. An example of the wide tree lined boulevards constructed by Haussmann. The change in the layout of Paris’s streets can be observed from the maps below. The first map is of Pre-Haussmann Paris. While there are some main streets running more or less straight through the city, for the most part it is chaotic and unplanned. The second shows the much more orderly layout of modern Paris, the streets outlined in red are the main boulevards constructed by Haussmann. Modern Paris, the main boulevards added by Haussmann are outlined in red. Sewers The Pre-Haussmann sewers had been built by a man named Bruneseau in 1805. Bruneseau’s underground system intermixed sanitary and unsanitary water.

During the 1800’s Germ theory came to replace the earlier Miasma theory of disease, and brought new ideas about sanitation and disease prevention. Haussmann engineered a new underground sewer system that separated drinking water and waste. His sewer used iron piping and new digging techniques made possible by the Industrial Revolution. By 1878 the sewer system had expanded to 360 miles. The new sewers also provided a source of tourism. Almost immediately after their completion tours of the Parisian sewers became a popular attraction. A engraving of a tour of the Parisian sewer in 1867. Facade of Buildings A building in the typical neoclassical style employed by Haussmann. Haussmann and Napoleon III wanted the buildings of Paris to share a unifying theme. The city was rebuilt with a neoclassical facade that has is still typical of Paris today. The widening of the streets allowed for extra height to be added to the buildings increasing living space. Typically five stories these buildings would feature elaborate balconies. In contrast to today’s buildings the cheaper apartments would be high up while the more desirable rooms were on the lower floors, this is primarily due to the absence of elevators.

The ground floor would usually be reserved for shops or other businesses. In many ways these buildings were precursors to the prefabricated buildings of today. While the outside facade is fancy, Haussmann employed cost saving measures beneath the exterior, and since all the buildings were made in the same style they were able to be built much more cheaply. An idea of the atmosphere in remodled Paris can be observed from the picture bellow Paris Street Rainy Day by Gustave Caillebotte Gustave Caillebotte-Paris Street;Rainy Day 1877 A french cartoon depicting Haussmann as a beaver. The scene painted here is very different from the crowded narrow streets of pre-Haussmann Paris. The buildings are in the neoclasical style and provide a sense of uniformity and order. It also depicts the new Paris as a city for the prosperous bourgeoisie as they are seen here strolling about the wide boulevard with plenty of affluent ground level stores to window shop from. Also of note is the new gas lamp in the center of the painting, enabling the citizens to walk the street at night.

End of career & legacy Haussmann essentially remade Paris into what what it is today, but he is not without controversy. There was and still is debate whether he was the man who destroyed old Paris, or the man who created new Paris. The project destroyed some 20,000 buildings and erected 30,000 new ones. In all an estimated 60% of Paris’s buildings were rebuilt or transformed. The project was required a huge expenditure and was massively over budget at over 2.5 billion francs. Haussmann’s career ended January 5, 1870, when Napoleon III used him as a scapegoat for the projects budget. Many Parisians had a negative outlook on the project citing concerns over never ending construction, debt, and distrust in initial budgeting. The large scope of the project led to the terms “Haussmannomania” & “Haussmannization” entering the Parisian vernacular to describe the construction craze. While there were many negative aspects to the project it did lead to some marked improvements in Paris, disease lessoned, trafic improved, and the quality of life for Parisians improved.

Haussmann would die of Tuberculosis in 1891. Sources David Van Zanten. Building Paris. New York, Cambridge University Press, 1994. Jordan, David P. Baron Haussmann and Modern Paris. American Scholar, Vol. 61 Issue 1, p99, 1992 Jordan, David P. Haussmann and Haussmannisation : The Legacy for Paris. French Historical Studies. Winter2004, Vol. 27 Issue 1, p87-113. 27p. and the modernization of Paris Portrait of Georges-Eugène Haussmann Georges-Eugène Haussmann Emperor Louis Napoleon III on the left presenting a letter to Haussmann on the right. Haussmann lived from lived 27 March 1809 – 11 January 1891. The son of a well off merchant family, Haussmann attended a university to study law and music. After his graduation he was able to rapidly advance through the civil service which now promoted based on ability and was no longer reserved for the nobility as it was before the French revolution.

Haussmann’s big break was when he came to the attention of emperor Louis Napoleon III in 1853. At this time Napoleon III was looking for for someone to undertake his grand vision to rebuild Paris as a modern capital that was worthy of France. Napoleon found an eager ally in Haussmann and appointed him the prefect of Seine (Of which Paris is a part) in 1853. The two made an efficient team and worked in close collaboration on the project. Haussmann was unswervingly loyal to Napoleon, and Napoleon protected Haussmann from his adversaries. While Haussmann proved to be very enthusiastic and a capable administrator, it is important to note that he never actually had any experience as an architect or an urban planner, which would result in some of his plans not working out quite as intended. It is also interesting to point out that while he was commonly referred to as Baron Haussmann he was never officially a Baron – it was more of an assumed nickname. Reasons for Modernization An example of the architecture in pre-Haussmann Paris, typified by narrow crooked streets. From 1800 to 1850 the population of Paris doubled to become over one million.

This rapid growth put great strain on Paris’s infrastructure and resulted in a massive overcrowding problem. In 1850 the majority of Paris was still the medieval style of unplanned narrow winding streets as seen in the picture to the right. These streets featured open gutters for carrying sewage that were breeding grounds for disease. These unplanned streets were narrow, often had confusing layouts and were not efficient for commerce and traffic. There were also political reasons for the renovation. From 1790 to 1850 France had transitioned between Royal dynasties, Republics, and Empires six different times! At this point revolutions seemed to be the fate of every French Government a fate that Emperor Napoleon III was keen to avoid. Paris was the focal point of revolutionary movements and by this point Parisian barricades had become synonymous with revolution. Napoleon III realized that the narrow streets of Paris were easy to barricade and the winding disorganized layout made it difficult for troops to quell rebellions quickly. Therefore it was hoped that by with the new layout providing quick access for troops and broad streets discouraging barricades, future revolutions could be avoided. Napoleon had a great interest in modern technology, architecture and city planing.

He became inspired to remake Paris into a modern city after seeing London which had been rebuilt in a massive project after the great fire in 1666. Napoleon was determined to remake Paris into a great modern capital worthy of the empire. The plan Haussmann embarked on on a radical project of urban design to rebuild Paris as a modern city. The project included… A greatly expanded sewer system. The construction of wide boulevards. Gas lighting for the streets. The formulation of public building regulations. Theconstruction of monuments. An updated and uniform facade for the city’s buildings. A reorganized and symmetrical road system. The construction of new parks. The division of Paris into arrondissements (Districts) and the expansion of the city’s limits. The extent of the construction can be seen in these pictures of the Avenue de L’opera both during the construction and in modern times A picture taken during the construction of the Avenue de L’opera. The above photo taken during the construction of the Avenue de L’opera is an example of the demolition that accompanied the widening of the boulevards. The buildings in the foreground will all be removed to make room for a wide boulevard leading to the Opera seen in the background.

The photo bellow shows the modern Avenue de L’opera from the same perspective. Note the buildings on the side are typical of the neoclassical style employed during the project. The modern Avenue de L’opera While both Napoleon III and Haussmann wanted to modernize Paris at the same time they were adherents of a more classical style of architecture. This led to the projects buildings being constructed in a neoclassical style. The neoclassical style was a unifying theme used in everything from the facades of apartment buildings to the construction of major Parisian landmarks. One such landmark constructed during this time was the Palais Garnier opera seen below. There is a story that Napoleon III, the Empress, and Haussmann were inspecting the building when the skeptical Empress asked the architect: “But Monsier, what style is it?” To which he replied “Why Madame the style is Napoleon III!”. The building does indeed typify the very opulent neoclassical style so loved by Napoleon III which can be observed in the picture of the Opera’s interior bellow. Construction of Palais Garnier Interior of Palais Garnier Roads An example of the symmetrical layout employed by Haussmann.

The main boulevards are connected by smaller diagonal streets. One of the most important aspects of the plan was the renovation of Paris’s main roads. Haussmann brought symmetry to the city. The new roads were laid out in a grid running east to west, north to south with diagonal connections radiating out. Perhaps most importantly the wide avenues would be hard to barricade and allow fast access for troops while also improving commerce. The construction of new roads and the widening of streets would require the expropriation and demolition of many buildings. An example of the wide tree lined boulevards constructed by Haussmann. The change in the layout of Paris’s streets can be observed from the maps below. The first map is of Pre-Haussmann Paris. While there are some main streets running more or less straight through the city, for the most part it is chaotic and unplanned. The second shows the much more orderly layout of modern Paris, the streets outlined in red are the main boulevards constructed by Haussmann. Modern Paris, the main boulevards added by Haussmann are outlined in red. Sewers The Pre-Haussmann sewers had been built by a man named Bruneseau in 1805.

Bruneseau’s underground system intermixed sanitary and unsanitary water. During the 1800’s Germ theory came to replace the earlier Miasma theory of disease, and brought new ideas about sanitation and disease prevention. Haussmann engineered a new underground sewer system that separated drinking water and waste. His sewer used iron piping and new digging techniques made possible by the Industrial Revolution. By 1878 the sewer system had expanded to 360 miles. The new sewers also provided a source of tourism. Almost immediately after their completion tours of the Parisian sewers became a popular attraction. A engraving of a tour of the Parisian sewer in 1867. Facade of Buildings A building in the typical neoclassical style employed by Haussmann. Haussmann and Napoleon III wanted the buildings of Paris to share a unifying theme. The city was rebuilt with a neoclassical facade that has is still typical of Paris today. The widening of the streets allowed for extra height to be added to the buildings increasing living space. Typically five stories these buildings would feature elaborate balconies.

In contrast to today’s buildings the cheaper apartments would be high up while the more desirable rooms were on the lower floors, this is primarily due to the absence of elevators. The ground floor would usually be reserved for shops or other businesses. In many ways these buildings were precursors to the prefabricated buildings of today. While the outside facade is fancy, Haussmann employed cost saving measures beneath the exterior, and since all the buildings were made in the same style they were able to be built much more cheaply. An idea of the atmosphere in remodled Paris can be observed from the picture bellow Paris Street Rainy Day by Gustave Caillebotte Gustave Caillebotte-Paris Street;Rainy Day 1877 A french cartoon depicting Haussmann as a beaver. The scene painted here is very different from the crowded narrow streets of pre-Haussmann Paris. The buildings are in the neoclasical style and provide a sense of uniformity and order. It also depicts the new Paris as a city for the prosperous bourgeoisie as they are seen here strolling about the wide boulevard with plenty of affluent ground level stores to window shop from.

Also of note is the new gas lamp in the center of the painting, enabling the citizens to walk the street at night. End of career & legacy Haussmann essentially remade Paris into what what it is today, but he is not without controversy. There was and still is debate whether he was the man who destroyed old Paris, or the man who created new Paris. The project destroyed some 20,000 buildings and erected 30,000 new ones. In all an estimated 60% of Paris’s buildings were rebuilt or transformed. The project was required a huge expenditure and was massively over budget at over 2.5 billion francs. Haussmann’s career ended January 5, 1870, when Napoleon III used him as a scapegoat for the projects budget. Many Parisians had a negative outlook on the project citing concerns over never ending construction, debt, and distrust in initial budgeting. The large scope of the project led to the terms “Haussmannomania” & “Haussmannization” entering the Parisian vernacular to describe the construction craze.

While there were many negative aspects to the project it did lead to some marked improvements in Paris, disease lessoned, trafic improved, and the quality of life for Parisians improved. Haussmann would die of Tuberculosis in 1891. Sources David Van Zanten. Building Paris. New York, Cambridge University Press, 1994. Jordan, David P. Baron Haussmann and Modern Paris. American Scholar, Vol. 61 Issue 1, p99, 1992 Jordan, David P. Haussmann and Haussmannisation : The Legacy for Paris. French Historical Studies. Winter2004, Vol. 27 Issue 1, p87-113. 27p. Baron Haussmann - Book Report / History Other Baron Haussmann This essay Baron Haussmann is available for you on Essays24.com! Search Term Papers, College Essay Examples and Free Essays on Essays24.com - full papers database.

Autor: anton • November 5, 2010 • 1,756 Words (8 Pages) • 738 Views Page 1 of 8 Baron Haussmann Born on March 27, 1809 from a Protestant family with origins from Germany, Baron Georges-Eugene Haussmann was a French civic planner who is known for the rebuilding, hero, and destroyer of Paris, France. He gained much of his education from the College Henry IV. From College Henry IV he studied law while simultaneously attending classes at the Paris conservatoire of music. In 1830 Haussmann became what was known as the sous-prefet of Nerac and in 1853 Haussmann was chosen by Persigny for he would be prefect of the Seine Department, which was a department of France surrounding Paris and its suburbs. Many of Baron Haussmann's works gave him a certain reputation as mainly a hero of Paris. Although many may have seen him as a hero, there were those that saw him as a destroyer of Paris because his work in rebuilding the city and destroying the social fabric of the city.

During the period between the Revolution of 1789 and Haussmann's rebuilding of Paris in the 1860's, many ideals in Paris were changed. The ideals of the city of Paris have changed from a politically motivated city to a city that is economically and socially centered. The rise in modern technology such as railroads and gas lamps were considered conveniences in which the rising bourgeoisie could enjoy their leisurely lifestyle. The new spaces created from the rebuilding in Paris encouraged many of the bourgeoisie to show off their new wealth. Because of the rising new wealth, there was a boost in Paris' economy. Baron Haussmann was appointed by Napoleon III in 1853 in order to modernize the city of Paris. Napoleon's main objective or goal was to better control the traffic flow and to encourage economic development in the city of Paris. Another objective by Napoleon was to rebuild the city in a way to prevent revolutions or to make it "revolution proof" which would be done by making it harder to build barricades. By appointing Haussmann, Napoleon III would accomplish all that is demanded by his regime. Haussmann accomplished the rebuilding of Paris by tearing up many of the old, twisting streets and decaying apartment houses.

They were replaced with wide tree-lined boulevards and expansive gardens. These attributes are what Paris is famous for today. The rebuilding brought up many concerns over the social fabric and physical fabric of the city of Paris. Although Haussmann rebuilt the city of Paris, the city was a little different before the renovation. Paris before the renovation by Haussmann during the 19th century was a city of contrasts. Monuments, significant historic buildings, and slum dwellings were often adjacent to each other because of the many centuries of haphazard development. The city was also densely populated as a result from immigration from the provinces. Jean-Jacques Rousseau, author of Les Confessions, writes the following about his first impressions of Paris, "Entering through the faubourg Saint Marceau, I saw only small, dirty and stinking streets, ugly black houses, an air of filth, poverty, beggars, carters, sewing women, women hawking tisanes and old hat" (Rousseau). The quote by Rousseau clearly indicates how the city of Paris was in the 19th century before the renovation of Paris by Haussmann.

Many of the city's districts contained old tenements, which were five to six stories in height. Only one household out of five had running water and chamber pots were emptied into the streets from the windows. Two-thirds of the streets contained open sewers. These had been built over centuries in a gradual fashion. Part of the city's water supply came from the Seine, often downstream from the orifice of sewers, which emptied their contents into the river. The cramped, unhealthy conditions brought up disease. Cholera, moving westward from Asia, arrived in Europe in the early 19th century. In 1832, 39,000 Parisians contracted cholera and 18,400 of those people died, including the Prime Minister. A similar number died in 1848-49. The old neighborhoods located in the east and the city center, parts of which dated from the medieval period, had become less desirable. The crowded southeast had been the stronghold of resistance during the revolutions of 1830 and 1848. Because of this, many of the wealthy were moving towards the west.

Although the wealthy were moving away from such decay in the old neighborhoods, even the wealthy areas were interspersed with slums. Because of the slums and other decaying in the city of Paris, Haussmann was appointed to clean up the old city where he was required to tear down many old buildings in order to create a new Paris. When Haussmann became Prefect of the Seine, Napoleon presented him with a map of Paris on which he had drawn the new streets he proposed to build. Haussmann and Napoleon would develop Napoleon's plans together, into a grand plan for the transformation of Paris. Haussmann's first task was to commission a detailed map of Paris, which formed the basis of his work. He established the department of the Plan de Paris, which installed wooden towers throughout the city. These towers were taller than the surrounding buildings in order to serve as triangulation points in the surveying process. In the early nineteenth century, Paris was divided into twelve districts, which were encircled by two walls. The outer wall was comprised by military fortifications. The inner wall, the Wall of the Tax Farmers, existed solely for the purpose of collecting taxes on goods coming into the city.

Haussmann and Napoleon decided to tear down this wall, despite the reduction in revenue that this would require. In 1859, the areas outside the inner wall were annexed to Paris. Paris had doubled in area, and increased its population by a third, to 1,600,000 inhabitants. The great crossroads of Paris had been envisioned even before Napoleon I. North to South and East to West movement was considered difficult on the Right Bank, as well as the travel between the two banks. The crossroads would extend from North to South across the two banks, and from East to West across the Right Bank. Part of the crossroads, which were the Rue de Rivoli and the Rue de Strasbourg, had been built before Haussmann took his position. Haussmann extended the Boulevard du Strasbourg to the south with the Boulevard de SÐ"©bastopol, and across to the Left Bank with the Boulevard St-Michel. He also extended the Rue de Rivoli from the Louvre to the HÐ"Ò'tel de Ville. Haussmann's constructions effectively moved the center of Paris to the northwest, which was the area where the wealthy had been migrating ...

Georges Eugene, Baron Haussmann - The Full Wiki The Full Wiki More info on Georges Eugene, Baron Haussmann Wikis Georges Eugene, Baron Haussmann: Wikis Advertisements Note: Many of our articles have direct quotes from sources you can cite, within the Wikipedia article! This article doesn't yet, but we're working on it! See more info or our list of citable articles . (Redirected to Baron Haussmann article) From Wikipedia, the free encyclopedia Georges-Eugène Haussmann, circa 1865 Georges-Eugène Haussmann (27 March 1809 – 11 January 1891), who called himself Baron Haussmann, was a French civic planner whose name is associated with the rebuilding of Paris . He was born in Paris to a Protestant family from Alsace . Contents 6 External links Life The son of Nicolas Valentin Haussmann, a merchant, was born in Paris and educated at the College Henri IV and subsequently studied law , attending concurrently the classes at the Paris conservatory of music , for he was a good musician.

He became sous-préfet of Nérac in 1830, and advanced rapidly in the civil service until in 1853 he was chosen by Persigny prefect of the Seine département in succession to Jean Jacques Berger, who hesitated to incur the vast expenses of the imperial schemes for the embellishment of Paris. Haussmann would remain in this post until 1870. Commissioned by Napoleon III to instigate a program of planning reforms in Paris, Haussmann laid out the Bois de Boulogne , and made extensive improvements in the smaller parks [1] . The gardens of the Luxembourg Palace ( Luxembourg Garden ) were cut down to allow of the formation of new streets, and the Boulevard de Sebastopol, the southern half of which is now the Boulevard St Michel , was driven through a populous district. Additional, sweeping changes made wide " boulevards " of hitherto narrow streets.

A new water supply, a gigantic system of sewers , new bridges, the opera house , and other public buildings, the inclusion of outlying districts - these were among the new prefect's achievements, accomplished by the aid of a bold handling of the public funds which called forth Jules Ferry 's indictment, Les Comptes fantastiques de Haussmann, in 1867 (a play on words between contes, stories or tales - as in Les contes d'Hoffmann or Tales of Hoffmann, and comptes, accounts.) A loan of 250 million francs was sanctioned for the city of Paris in 1865, and another of 260 million in 1869. These sums represented only part of his financial schemes, which led to his dismissal by the government of Émile Ollivier . After the fall of the Empire he spent about a year abroad, but he re-entered public life in 1877, when he became Bonapartist deputy for Ajaccio . His work had destroyed much of the medieval city. It is estimated that he transformed 60% of Paris' buildings.

Notably, he redesigned the Place de l'Étoile , and created long avenues giving perspectives on monuments such as the Arc de Triomphe and the Opera Garnier . Haussmann had been made senator in 1857, member of the Academy of Fine Arts in 1867, and grand cross of the Legion of Honour in 1862. He died in Paris and is buried in Le Cimetière Père Lachaise , Paris. His name is preserved in the Boulevard Haussmann. His later years were occupied with the preparation of his Mémoires (3 vols., 1890-1893). According to his memoirs [2] , Haussmann's use of the title baron was based on his elevation to the Senate and to an 1857 decree of the emperor's that gave Senate members the title of baron; his memoirs further stated that he joked that he might consider the title aqueduc, (a pun on the French words for 'duke' and 'aqueduct') but that no such title existed.

However, the Dictionary of the Second Empire states that Haussmann used the title of baron casually, out of pride as the only male descendant of his maternal grandfather, Georges Frédéric, Baron Dentzel, a general under the first Napoleon. This use of baron, however, was not official, and he remained, legally, merely Monsieur Haussmann. [3] Haussmann's plan for Paris Between the Revolution of 1789 and Haussmann's renovation of Paris in the 1860s, ideals changed from those of a politically motivated city to those of an economically and socially centered city. Modern technology such as railroads and gas lamps were conveniences which the rising bourgeoisie could enjoy in their leisurely lifestyle. New spaces that were created during the renovation encouraged the bourgeoisie to flaunt their new wealth, creating a booming economy. All of these examples of the changes occurring in Paris during this time period can be seen in representations of the city. There are two views of Baron Haussmann: One depicts him as the man who destroyed Old Paris, and the other as the man who created New Paris.

Avenue de la Grande Armée, one of Haussmann's twelve grand avenues radiating from the Arc de Triomphe . La Défense and the Grande Arche (the hollow white cube) can be seen on the horizon. Georges-Eugène Haussmann was hired by Napoleon III on 22 June 1852 to "modernize" Paris. He hoped in hiring Haussmann that Paris could be moulded into a city with safer streets, better housing, more sanitary, hospitable, shopper-friendly communities, better traffic flow, and, last but not least, streets too broad for rebels to build barricades across them and where coherent battalions and artillery could circulate easily if need be. [4] He created broad avenues linked to the main train-stations so army troops from the provinces could be operative in a short amount of time (for example, the boulevard de Strasbourg near Gare de l'Est and Gare du Nord ). This work achieved during the Second Empire is one of the causes of the quick repression of the 1871 Paris Commune : since the 1848 revolution , Adolphe Thiers had become obsessed with crushing out the next foreseeable Parisian rebellion.

Thus, he planned to leave the city and retreat, in order to better take it back with more military forces [1] . Haussmann's design of streets and avenues, combined with the new importance given to trains, made this plan more than successful, and Adolphe Thiers easily crushed the Communards . Haussmann accomplished much of this by tearing up many of the old, twisting streets and rundown apartment houses, and replacing them with the wide, tree-lined boulevards and expansive gardens for which Paris is famous today. Other elements of Haussman's plan included uniform building heights, grand boulevards, and anchoring elements including the Arc de Triomphe and the Grand Opera House. Haussmann's plan for Paris inspired some of the most important architectural movements including the City Beautiful Movement in the United States. In fact, renowned American architect Daniel Burnham borrowed liberally from Haussmann's plan and even incorporated the diagonal street designs in his 1909 Plan of Chicago . Cities like London and Moscow also have Haussmann influences in their city plans.

Historian Shelley Rice, in her book Parisian Views writes that "most Parisians during [the first half of the nineteenth century] perceived [the streets] as dirty, crowded, and unhealthy . . . Covered with mud and makeshift shanties, damp and fetid, filled with the signs of poverty as well as the signs of garbage and waste left there by the inadequate and faulty sewer system . . ." (p. 9). For these people, Haussmann was performing a much needed service to the city and to France. How ugly Paris seems after a year's absence. How one chokes in these dark, narrow and dank corridors that we like to call the streets of Paris! One would think that one was in a subterranean city, that's how heavy is the atmosphere, how profound is the darkness! —the Vicomte de Launay, 1838 (as quoted in Rice, p. 9) It should be noted, however, that the people who suffered most from the medieval living conditions were often exiled to the suburbs by Haussmannization, since slums were cleared away and replaced with bourgeois apartments.

Criticism Because of Haussmannisation, that is the creative destruction of something for the betterment of society, the 1860s was a time of intense revolt in Paris. Many Parisians were troubled by the destruction of "old roots". Historian Robert Herbert says that "the impressionist movement depicted this loss of connection in such paintings as Manet 's Bar at Folies ." The subject of the painting is talking to a man, seen in the mirror behind her, but seems unengaged. According to Herbert, this is a symptom of living in Paris at this time: the citizens became detached from one another. "The continuous destruction of physical Paris led to a destruction of social Paris as well." Haussmann was also criticized for the great cost of his project. Napoléon III fired Haussmann on 5 January 1870 in order to improve his own flagging popularity.

Haussmann was also a favorite target of the Situationist's critique; besides pointing out the repressive aims that were achieved by Haussmann's urbanism, Guy Debord and his friends (who considered urbanism to be a "state science" or inherently "capitalist" science) also underlined that he nicely separated leisure areas from work places, thus announcing modern functionalism , as illustrated by Le Corbusier 's precise zone tripartition (one zone for circulation, another one for accommodations, and the last one for labour). The changes wrought by Haussmann on the streetscape of Paris were documented in the film, Paris: Living Space, featuring Edmund N. Bacon and based on sections of his book Design of Cities . See also Digital Mapping Midterm at Millersville University of Pennsylvania - StudyBlue StudyBlue changed the landscape of NYC by putting freeways through the city Baron Haussmann French civic planner whose name is associated with the rebuilding of Paris.

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Question: The 19th century civic planner Baron Haussman is associated with the rebuilding of which city?
Answer: Paris